VIDEO PODCAST: John Dante Prevedini leads a discussion about Youth Involvement in Classical Music - this specially extended illustrated feature includes contributions from Christopher Morley, Gerald Fenech, Halida Dinova, Patricia Spencer and Roderic Dunnett.
Italian conductor Daniele Gatti was born in Milan on 6 November 1961. He studied piano and later composition and conducting at Milan's Verdi Conservatory.
He has held a series of high profile positions: principal conductor of the Orchestra Dell'Accademia Nazionale di Santa Cecilia (1992-97), principal guest conductor at Covent Garden (1994-97), principal conductor of the Royal Philharmonic Orchestra (1996-2009), where he was credited with restoring the RPO to equal status with the other London orchestras, music director of the Orchestra del Teatro Comunale di Bologna (1997-2007), music director of the Orchestre National de France (2008-16) and principal conductor at Zurich Opera House (2009-12).
In 2016 he became chief conductor of the Royal Concertgebouw Orchestra but his appointment was terminated abruptly in 2018, following a Washington Post article citing two women accusing him of sexual misconduct and accusations of inappropriate behaviour by a number of female colleagues. Despite credible charges of abuse, he was somehow able to make a return to conducting, at least in Italy, becoming music director of Teatro dell'Opera di Roma at the end of 2018.
Ensemble. Don Carlo in the Mists - Giuseppe Pennisi visits Florence for a performance of Verdi's most complex and monumental opera
Ensemble. An Unconventional and Complex Score - The first performance of 'Julius Caesar' by Giorgio Battistelli, reviewed by Giuseppe Pennisi
Ensemble. Black and White - Verdi's 'Il trovatore' from Teatro dell'Opera di Roma, reviewed by Giuseppe Pennisi
Ensemble. In the Easter Egg - Giuseppe Pennisi takes a critical look at two April 2021 performances of Verdi's 'La Traviata'
Ensemble. Elegant and Innovative - Giuseppe Pennisi experiences Teatro dell'Opera di Roma's Homage to Stravinsky
Ensemble. Hundreds of Thousands in Line for a Barber - A new Rome production of Rossini's 'Barber of Seville' especially for TV, reviewed by Giuseppe Pennisi
Ensemble. A Survival Strategy - Giuseppe Pennisi writes about the current music scene in Italy, touching on recent notable performances
Ensemble. Soft Romanticism - Giuseppe Pennisi listens to Schubert, Wagner and Mozart from Daniele Gatti and the Mozart Orchestra at the Ravello Festival
Ensemble. Once Upon a Time in Mantua - Giuseppe Pennisi was at the re-opening of Teatro dell'Opera di Roma for Verdi's 'Rigoletto'
Ensemble. Bel Canto Marvels - Giuseppe Pennisi experiences Bellini's rare opera 'I Capuleti e i Montecchi'
Ensemble. Bold and Engrossing - Giuseppe Pennisi reviews Verdi's 'Les Vêpres Siciliennes' at Teatro dell'Opera di Roma
Ensemble. Out of Nature - Giuseppe Pennisi was at the opening concert of the 2019 Chigiana International Festival
Ensemble. The Touch of Gatti - Giuseppe Pennisi listens to Wagner and Mahler from the Accademia di Santa Cecilia in Rome
Ensemble. Innovative and Enthralling - Berlioz's 'La damnation de Faust' at Teatro dell'Opera di Roma impresses Giuseppe Pennisi
Ensemble. The Mercy of God - Giuseppe Pennisi listens to Robert Schumann's oratorio 'Das Paradies und die Peri'
Ensemble. Abstract and Symbolic - 'Tristan und Isolde' at Teatro dell'Opera di Roma enthralls Giuseppe Pennisi
Ensemble. Innovation and Tradition - Verdi's 'La Traviata' at the start of La Scala's new season, reviewed by Giuseppe Pennisi
Ensemble. New Directions - Giuseppe Pennisi reports on Mozart, Verdi and Wagner operas from Salzburg's summer festival
Ensemble. Sensuous Depths - A selection of orchestral concerts at London's Royal Festival Hall, heard by Bill Newman
Ensemble. When God and Man Collide - Giuseppe Pennisi visits the Salzburg Festival to investigate 'the downfall of the myth and the spirit of the music'
Ensemble. Seldom Performed - 'Lulu' lands at La Scala, by Giuseppe Pennisi
DVD Spotlight. Dynamism and Subtlety - 'Simon Boccanegra' from the Vienna State Opera impresses Robert Anderson. 'The Work is in the safest possible hands ...'